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slxsherr · 2 years ago

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Tonight I Feel Like More

read part I here and part III here

pairing: charlie walker x bimbo!fem!reader

summary: you attend your first ever stab-a-thon, and finally make it through all of the movies, so charlie gives you a reward under the guise of keeping you warm.

wc: 2014

warnings: fem!reader, cursing/swearing, mentions of alcohol, mentions of oral sex (m! receiving), public sex, unprotected sex (p in v), mentions of crying, creampie

a/n: reader is described as being taller than charlie while wearing heels i'm sorry if you're short just pretend you're wearing ridiculously high heels 😭

Since your first movie night with Charlie, it’s been his mission to finish all of the Stab movies with you. Which wouldn’t be so hard if you could get past Stab 5, but the whole time travel plot confuses you, which means you get bored, and Charlie has come to realize that your boredom manifests in a rather, promiscuous way.

The first time you only lasted twenty minutes before you were pulling down his pants and busying yourself with his cock, bobbing your head and hollowing your cheeks until you were swallowing his load. After that, the last thing on either of your minds’ was the movie.

He tries again and again, but somehow, someway, you get lost. He thinks he should feel lucky, having a girlfriend as frisky as you, and for the most part he does. But he’s worried, with Stab-A-Thon coming up he knows you’d want to go and support him at his last film festival.

What worries him is that at some point throughout the night you’re gonna get bored, and then he’ll have to find a secluded area of of wherever they decide to throw the party to fuck you silly. A problem he never thought he’d have, but he keeps it in mind while discussing venue options with Robbie.

Eventually they settle on an abandoned farm, far enough to not be bothered by adults, but not too far to the point where the drive is a hassle. They scope out the farmhouse, making sure it’s not too rundown for a gathering of drunk teens. It’s their last year of high school, last year running Cinema Club, last time throwing Stab-A-Thon, and Charlie and Robbie want to go all out.

On the day of, a few more involved club members help Charlie and Robbie set up for Stab-A-Thon, handling decorations and seating while Charlie and Robbie focus on the audio and visual. Before people start arriving, Charlie adds some yellow police tape to the stairs leading up to the hayloft, spewing bullshit about not wanting a drunk idiot to fall when someone asks, not wanting to say the real reason.

As soon as the sun falls over the horizon cars start to pull up, teenagers filing in with drinks, talking over the loud music as they wait for the movies to start. You arrive with Kirby and her friends, visibly annoyed by Jill and Trevor fighting behind you, most likely having had to listen to them argue the whole ride over.

You find Charlie before he spots you, quickly making your way to him through throngs of people, desperate to get away from relationship drama, not wanting it to rub off on you and Charlie. The closer you get to him, the easier it is for him to notice you. You’re dolled up more than usual, pretty makeup and hair he’s gonna feel guilty about ruining later, a short dress barely reaching past your ass, and matching heels that have you standing taller than him.

Most guys would probably be upset by that, but he can’t find it in himself to care when you slot yourself at his side, leaning in to give him a kiss. Your lipgloss is sweet, strawberry or cherry if he had to guess, a thin layer sticking to his own lips when you pull away. Your smile is even sweeter, eyes shining when they meet his, and he’s reminded of the phrase ‘the lights are on but no one’s home’, a perfect description of what goes on in your head.

He can tell you planned your outfit for fashion over function, which is the case for most of your outfits. If you’re not whining in his ear to sneak off he’s sure you’ll be complaining about being cold. But he lets those thoughts fade, focusing instead on your warmth at his side, offering you a sip of his drink.

“What time do the movies start?” You ask, face scrunched up at the bitter taste of whatever alcohol was poured into the jungle juice.

“Shouldn’t be long now,” Charlie answers, pulling his hand out of his pocket to wrap around your waist, bringing you closer to him.

“Actually, we should probably get up there and do our kickoff,” Robbie says, seeing the seats mostly filled in.

“Be right back,” Charlie whispers to you, following Robbie to the projector screen.

Their introduction is short and sweet, poking fun at the franchise’s clichés, while also promoting underage drinking. The crowd cheers, ready for the movies to start, quoting the iconic opening scene as Charlie and Robbie make their way to the back of the crowd to the projectors. You’re sitting on some bales of hay set up for seating, thin blankets keeping the itchy straw from irritating your skin, confusion etched in your features when you see Charlie walk out of the room instead of joining you.

Before you can follow him, Robbie takes a seat next to you, going into a rant about the movie that you only half listen to, convinced Charlie has given you the same rant during one of your private movie nights. You don’t have a chance to interrupt him and ask about Charlie though, jerking away when you feel an arm around your shoulder.

“Sorry, didn’t mean to scare you,” Charlie laughs at your reaction, sitting down next to you. “Got you a drink,” he says, offering you a red cup.

“Thank you,” you say, beaming at him, leaning in for another kiss.

“Uh-uh, watch the movie,” he says, refocusing your attention to the screen.

You roll your eyes, but do as he says, watching the movie silently. The two of you sip on your drinks, moving closer together as more people join you on the bales of hay. By the time the second movie starts, you’re forced into Charlie’s lap after getting up for refills and losing your spot. Not that you mind, sat sideways on his lap and tucked into his chest, you’re surprisingly able to focus on the movies for once.

He entertains you, imitating the killer’s voice and repeating the dialogue for only you to hear, his breath tickling your ear as he whispers the lines. Your giggles are muffled by his chest, his playfulness and the steady beat of his heart comforting you through the jumpscares and violence that you’re still getting used to.

The two of you allow yourself to relax into one another, comfortably watching each movie as the crowd slowly dwindles. You’ve traded your jungle juice for soda, caffeine and sugar slowly sobering any tipsiness as dawn approaches, eyes blinking slowly as you both fight off sleep. You’re so close, the closest you’ve ever been to finishing all seven Stab movies, and he can’t help but bounce his leg nervously, your whole body shaking from the force of his movement.

“Stop that,” you mumble, and he does, but it’s not long before his leg is shaking again. “I thought you’ve seen all of these before, shouldn’t I be the nervous one?” You tease him when he still doesn’t stop.

“Shh, pay attention,” he scolds you, because it’s the final act of the last movie, and you’ve come so far.

You don’t put up a fight, attention easily grabbed as the kill scenes get messier and the main cast dies off one by one. Charlie’s buzzing with excitement during the last few minutes of the movie, watching for your reaction. Your reaction is dampened by your exhaustion, but even the slightest tell of shock has his lips stretching into a smile, holding you closer as the credits begin to roll.

“Wow,” is all you say, stretching out in his arms.

“Well, how do you feel?” He asks you, leaning over you as you lay back.

“Scared, tired, a little cold,” you answer, his hair tickling your skin as his face nears yours.

“Hm, well let’s go to bed then,” he says, sitting up and pulling you up with him.

You follow him to a set of taped off stairs, a thin blanket dragging on the straw covered floor behind him. He holds your hand all the way up the stairs, not wanting you to trip in your heels, spreading the blanket out over the loose stack of hay. The two of you fall onto your makeshift bed for the night, or early morning, laying on your sides as he pulls your back to his chest.

“How about now?” He asks, arms holding you close to him.

“Less scared, less tired, more cold,” you answer, wishing you had also grabbed a blanket.

“Let me warm you up then,” Charlie says, an impish smile on his face as one of his hands moves between your thighs, tickling your skin as his touch trails up.

“Really? Right now?” You ask, and he can’t tell if you’re excited or not, words slurring from exhaustion.

“Only if you want me to,” he answers, teasing your inner thighs, pushing the hem of your dress up.

“Of course I want you to,” you say, his advances reassured as you open your legs for him.

Since your first night together, both of you have learned a lot about each other’s sexual preferences. Although Charlie doesn’t have much experience, he found that it doesn’t take much to turn you on. You’re rather needy, and despite being the one guiding him most of the time, he’s the one doing all the work. Not that he minds.

When he dips his fingers past the waistband of your panties, he’s not surprised to find that you’re already wet, teasing your clit with soft circles as his other hand gropes your tits over your dress. Your hips buck in pleasure, thighs closing around his hand as your leg falls from the force of gravity, ass barely grinding back against him as you seek friction.

“You did so good tonight,” he says, undoing his jeans to pull them down. “Finally watching all of the movies like I asked,” he says, thick head of his cock stretching your slick walls as he pushes into you, your panties merely pulled to the side.

“Anything for you, baby,” you say, pushing back against him, needing to feel him deeper.

His hands hold your hips in place as he thrusts into you, building speed and tempo as he stifles his groans by marking your neck. You bite your fist, painfully aware of the people asleep just beneath the hayloft, struggling to keep your voice down. It’s unfair, Charlie thinks, how good you feel wrapped around him, milking him as you get closer to orgasm.

“What’s that?” He asks, hearing you mumbling something through your fist.

“Harder, please,” you moan, hiding your face in the blanket.

He holds you against him tighter, hips bruising your ass as he fucks you harder. It’s almost like you’re running away from him, grasping at the straw beside you, failing to silence your moans. He has to move one of his hands over your mouth, hearing your voice begin to echo, his other hand holding your hips in place.

Where once the cold nipped at your skin, you’re now sweltering, Charlie’s body heat warming you up from the inside out. With the way he’s pounding into you now, there’s not much you can think about aside from the way the tip of his cock kisses your cervix with each thrust, how it makes heat flare in your belly, and that you’re so fucking close. You don’t realize you’re crying, your vision having gone blurry a while ago, but now you’re seeing stars, hurtling over the edge as he chases his own pleasure.

You’re limp, twitching in his hold, drool and lipgloss smeared against the palm of his hand. It doesn’t take long for him to finish after you, grinding his release into you as he fills you with his hot cum. You whimper from the overstimulation, breathing heavily as both of you ride out the high.

“Goodnight, baby,” Charlie whispers, arms relaxing around you as you both begin drifting off to sleep, still buried deep within you.

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scenikeight · 2 years ago

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What My Father Wanted was to Kill God: Reflecting on the cycle of Rebuild of Evangelion

It's been two years now, since Evangelion 3.0+1.0 hit Japanese cinemas for the first time.

I think many of us chose to say goodbye to Eva on that day, too, leaving satisfied. I can't fault anyone for this. But there's a part of me that stings knowing that 3.0+1.0 has been left relatively un-combed-through in comparison to the other films, and I don't feel right leaving it this way. Today, I want to dissect "loop theory" - what it was before 3.0+1.0 came out, in what ways we missed the mark back then, and finally, what the resolution of 3.0+1.0 meant for the story. I want to understand what it meant to kill God.

This article was heavily inspired by "What was loop theory? Investigating the truth after Evangelion 3.0+1.0", by Japanese fan-channel Eva Fan. If you want to understand the meta angle of Rebuild better (i.e. "why does Rebuild even exist in the first place?"), please watch the NHK Professional documentary on Anno and the production of 3.0+1.0 (not "The Final Challenge of Evangelion" version on Amazon, although you should watch this one too because they're both great.) The meta of Rebuild is outside the scope of this article.

SECTION 1: WHAT WAS LOOP THEORY?

If you're already familiar with the basis of loop theory, you can probably skip this section and head to section 2. This is gonna be a lot of recap. I, for one, have never been a huge fan of the idea of "loop theory". This isn't to say that I've ever disagreed with the conclusion that Rebuild's world is stuck in a loop, more that I felt like painting it as a "theory" is seeding more ground to bad faith actors in the fandom than necessary. However, I'm using the term here to refer generally to different theories about the loops, namely those regarding Kaworu and potential connections with End of Eva. Now that all of the disclaimers are out of the way... ESTABLISHING OUR BASES, PART 1: THE MESSENGER

From the moment he's introduced, Kaworu's entire purpose in the first two films seems to be establishing the loop to the audience. His familiarity with previous versions of Shinji is front and centre in the very first line he speaks.

Some relevant lines from Kaworu in 1.0, 2.0 and 3.0. Full sized image here.

While at this stage, we lack information on how much Kaworu knows, we are at least aware of his knowledge of previous iterations of the Eva world in that first line there: "The Third one again". This is compounded at the very end of 2.0, in which he declares that "this time" (as opposed to previous times, presumably failed attempts), he will make Shinji happy. In 3.0, there's a moment in which he seems to confirm to himself his musing in NGE of having been "born to meet" Shinji (notice the lack of のか��しれない "probably"), and following some more ambiguous lines we'll skip over, at the end of a long speech about parts of ourselves remaining in the world even after we're gone, he suggests he and Shinji will see each other again just before he dies.

These lines lead some fans to believe that the loops were in some way or another, under Kaworu's control. This iteration of loop theory suggested that the loops exist so that Kaworu, who remembers the events of NGE, can achieve his goal of "making Shinji happy".

ESTABLISHING OUR BASES, PART 2: THE RED SEA

Non-exhaustive chart of potential connections between Rebuild and NGE/EOE, compiled by users on /a/ board in 2011. Full sized image here.

There are several environmental aspects of Rebuild's world that seemed to suggest a connection to The End of Evangelion, most obvious amongst these being the red sea. As Kaji explains in 2.0, the seas were blue prior to Second Impact. Flashbacks to this event reveal that it bore slightly more in common with EOE's Third Impact than NGE's Second; note the presence of the Black Moon in the comparison above. Early on in 1.0, there's a shot that shows cross-shaped white outlines in the red sea, that appear to be remnants of EOE's crucified mass production units. The moon in Rebuild also has a large, red streak on its surface, that could be the bloodstain that was left there by Lilith in EOE. Additionally, Shinji's SDAT in NGE always looped the same two songs, shown under the track numbers 25 and 26. In Rebuild, Shinji's SDAT's track number begins at 27, and goes up from there (it seems to represent the relationships he forms with other people). Some iterations of loop theory suggested that Rebuild was set directly after End of Eva, and that the events of Second Impact as remembered by the cast were actually EOE's Third Impact. Additionally, though its relevance to any canonical NGE content is tenuous (tenuous, but not irrelevant when it comes to Rebuild; see the bonus chapter), Sadamoto's NGE manga also ends with a kind of timeloop.

From the epilogue chapter of Yoshiyuki Sadamoto's Neon Genesis Evangelion manga. Full sized image here. After Instrumentality, the epilogue flashes forward to a long time in the future, where the crucified Evas are seen as some kind of relic from an unknown time. We see Shinji, Asuka and Kensuke reincarnated, and Shinji and Asuka meet for the first time, with some sense that they've seen each other before.

Full sized image here. This ending could be seen as an explanation of sorts of what's going on in Rebuild; the characters have been reincarnated a long time after the fact, while elements of the old world remain as part of the environment.

ESTABLISHING OUR BASES, PART 3: DOUBT

It should go without saying that, even at the time, these particular conclusions had holes in them. (This is to say nothing of the hundreds of other iterations of loop theory; if we went through every whacky headcanon explanation people posted on Reddit under the guise of it being any kind of genuine theorization, we'd be here all day)

Sequel Theory, especially past 3.0, required you to ignore contradictory information being presented in the same scenes the evidence being drawn on was. The comparison image I included earlier (it pre-dates 3.0's release, but was certainly spread around long after the fact) suggests that the Four Adams as they appear in 2.0's flashback could have been the Mass Production Evas (of which there are 8, not 4!). Two of the lines from Kaworu it included also don't support this line of reasoning; both "This time..." and "You don't change" imply multiple previous loops, not a singular. And while we haven't mentioned them so far, the coffin he emerges from in 1.0 being one of several was also something people were aware of back then. Speaking of Kaworu - Shinji's Happiness Theory doesn't seem to line up with the way he goes out in NGE, either. He asks Shinji to kill him with the goal of achieving true freedom; it doesn't seem like he's looking for a next time, but rather an ending, away from his destiny as an angel. It doesn't really follow that Rebuild's loops would be a journey he'd set himself on willingly, rather a circumstance he's put into by some other force.

SECTION 2: PAYOFF

3.0+1.0 responds to the foreshadowing of previous entries in a way that's kind of inconclusive, on its face. I'm going to save the potential answers for the next section; for now, let's just go over the information we did get, including some things you may have missed. PAYOFF, PART 1: OUT IN THE OPEN

Kaworu describes Gendo as being the origin of the cycle. Full sized image here.

Our first piece of confirmation, and first in-universe mention of the loops (or "cycle"/"circle"), is this line. "Gendo was the center of Instrumentality this time", the "this time" implying there have been other Instrumentalities with other person/s at the center. "Origin of the cycle" may indicate that Gendo is in control of the loops as a whole, or it may instead indicate that different people start them, perhaps through Instrumentality.

Asuka wakes up on the beach. Full sized image here.

After coming to terms with her feelings, Asuka "wakes up" in the same spot she was lying at the end of EOE, wondering if she was asleep. This is still in the anti-universe, but as was established by Gendo earlier on in the film, the Evangelion Imaginary and the anti-universe as a whole manifest as parts of one's memory. Asuka is our POV character for this section with her, so she must recall having been here. Maybe you could interpret "was I asleep?" as Soryu, specifically, having woken up.

Selections from Kaworu's Instrumentality. Full sized image here.

Anything that focused on Kaworu here was always going to be the juiciest in relation to the loops, but it's surprisingly upfront even then: There have been multiple previous loops, and Kaworu is not in control of them, he just continues to exist without agency over them like all of the other key players do. (That's both of our aforementioned Theories disproven in one scene!)

Kaworu introduces the "Book of Life", Kaji clarifies the details. Full sized image here.

We're also introduced to a new concept here, the "Book of Life". There's very limited information on what this does, but at least Kaji is here to fill in some details Kaworu conveniently leaves out, as he likes to do (that, if nothing else, Shinji and him meeting over and over again is something Kaworu has power over.)

Rei and Shinji discuss the birth of a new world. Full sized image here. Most of Rei's instrumentality scene exists to wrap up the other aspect of Rebuild's narrative we're not talking about here, so I'll skip past all of that to this: with Unit-01 and the Spear of Gaius, Shinji is capable of creating a new world, through a power known as Neon Genesis. It may be worth noting that Shinji has to clarify that he isn't going to rewind time or revert the world, just create a new one on top of the existing. This may establish a precedent for characters in control of Instrumentality being able to do both of those things.

PAYOFF, PART 2: A CLOSER LOOK NGE has a LOT of references to the years its set in. Even beyond the on-screen text, there's plenty of instances of plaques and other signs with the 2015 date on them. Rebuild, however...

Yui's grave as it appears in 2.0. Full sized image here. The only time we ever see a date in the first three films is here, on Yui's gravestone in 2.0. It's partially obscured by flowers, and may appear at first to read the same as her NGE grave did. On closer inspection, though, you can clearly see there's a 0 in front of 2004.

This could be what the gravestone has written on it. Full sized image here. One time could mean anything, but it becomes a pattern when we see more dates in 3.0+1.0...

The manufacture information on the railway track turntable in Village-3. Full sized image here.

The plaque on the AAA Wunder. Full sized image here.

Looking at that date given on the railway turntable, the earliest date 3.0+1.0 could take place is the year 12001. This, combined with the physical evidence present in the first two films, seems to imply that Rebuild follows the same rules established in the Sadamoto manga, that the loop isn't necessarily a reset of the world, but rather a continuous stream of time in which the characters are reincarnated. It makes sense Sadamoto would use this as the basis for his ending, too - he worked on the first two films, and the Mari bonus chapter clearly demonstrates that certain aspects of Rebuild were solidified during their production. Furthermore, the scene in which Shinji asks Gendo what he wishes for has more visual references to EOE than you might think...

Gendo grasps his right arm, as if he remembers the time he lost it. Full sized image here. The arm thing is obvious, and the line he says there could be about EOE, but you might notice something else in that image on the left there. There's a picture of Shinji in the background. That image comes from one of the flashing sequences in EOE's Third Impact, in fact, the entire sequence is overlaid on top of that shot of Gendo.

This shot in 3.0+1.0 versus the same sequence in EOE. The encode of 3+1 I was using was dropping frames here, so I had to cut some of it out. Video mirror here.

By the way, adult Asuka's official name, as used in every piece of merchandising she's been in so far, is just "Asuka Langley", not "Asuka Langley Shikinami" or "Asuka Langley Soryu".

Good Smile Company's "1/7 Scale Figure: Asuka Langley". She has a fair few figures, all of them with this name. Other merchandise never calls regular Asuka this. Full sized image here.

Rei holds a doll of Tsubame. Full sized image here.

The same thing ends up happening with Rei in-universe. The version of her with long hair is clearly Rei from 2.0, who has been inside the entry plug this whole time, but when we see her on the stage, she's holding a baby doll. It has Tsubame (Hikari and Toji's daughter)'s name written on it. It seems to follow that different versions of the same character end up re-joining into one during instrumentality, be that cross-loop like Soryu and Shikinami, or in-loop, like Rei and Sokkuri (Lookalike). This would appear to go beyond just regaining memories of previous loops, as Rei and Sokkuri existed in the same loop independently of one another.

SECTION 3: A PROPOSAL

And now, to get into the real meat of the issue. ...Whose doing was this, exactly?

Here's the thing: Kaworu, we can already rule out. We know it wasn't him. The next most likely candidate you might think of is Gendo, but... is he, really? Because Gendo died in EOE (perhaps not physically, but regardless), killed by Yui, but ultimately of his own volition. He had come to terms with himself when he died. He doesn't seem like someone who would have still had unfinished business. Then, what of Shinji? Well, I think it's the same deal with him, too. Shinji might not have found his place in life at the end of EOE, but he also doesn't seem like he was clamoring to start over, after all of that. In their video, "What was loop theory? Investigating the truth after Evangelion 3.0+1.0", Japanese Eva fan, Eva Fan (lol), of Minna no Eva Fan fame, gives us a different answer:

It was Yui.

Yui entered the Eva experiment for Shinji's sake. Full sized image here.

Yui's motives in NGE may have been left mostly up to the audiences' interpretation, but I don't think there's any doubt she loved her son more than anything.

As Unit-01, she becomes God at the end of EOE, accepting the burden of being the eternal proof of mankind's existence. She leaves Shinji behind, knowing that he still hasn't found his place in life.

A PROPOSAL, PART 1: YOU WERE WAITING FOR THIS MOMENT

Yui leaves Shinji as he comes into his own. Full sized image here.

The end point of the loops and emergence into the new world: Shinji makes the decision to create a world that doesn't need the Eva. Shinji and Yui, previously one being, separate. Shinji breaks the curse of the Eva, becoming an adult, and now away from his mother, emerges into the real world.

As explained by Gendo, the anti-universe, the end point of Rebuild's story, is also the beginning, and somewhere Yui, at one point, resided.

The beginning and the end are one in the same. Full sized image here. The anti-universe is "the one and only place fate may be bent to one's will". Shinji, in his parting words to Yui in EOE, tells her he thinks he'll keep making the same mistakes over and over. To quote Hideaki Anno: Eva is a story that repeats. In the aforementioned Eva Fan video, they suggest that the anti-universe may in fact be the world of NGE (perhaps, the world inside of Unit-01). Yui creates a new world through Neon Genesis, one which resembles the old, to tell the story of Shinji anew. To give him another chance to grow. For as long as Eva is Shinji's story, it is Yui's; her goal was to bring Shinji a bright future, after all. The act of piloting the Eva sees the child return to the place they resided before birth; back into the comfort of their mother's womb. In Rebuild, the “mother” seems to become all but irrelevant - Yui Ayanami may reside inside Unit-01 but this is never touched on in the same way; Asuka’s mother doesn’t seem to even exist, and her original seems to reside inside Unit-13. The existence or non-existence of a mother’s soul inside of an Eva dictates nothing about who can synchronize with it (see: Unit-02, Unit-08, Unit-13, etc). However, taking a step back, it’s almost as if the reason why the presence of the “mother” is missing from the material world of Rebuild is because the entire series takes place within the world the mother created. If Shinji entering the cockpit of an Eva unit in NGE is returning to the womb, then what is Shinji doing by existing in the world of Rebuild?

In deciding to create a world that doesn't need the Eva, Shinji is accepting life without his mother. The parting of mother and son represents the break in the loop. He emerges into the new world, reborn as an adult.

INTERJECTION: WHAT’S IN A NAME?: YUI IKARI/YUI AYANAMI

Rebuild’s Yui’s name isn’t Yui Ikari (at least, her maiden name isn’t) - It’s Yui Ayanami. In NGE, Gendo took her surname when they married. In Rebuild, Gendo already had the surname Ikari, and Yui Ayanami took his.

I think fans have been generally puzzled by the purpose of this change, but this interpretation - that Yui Ikari from NGE is the heart of the loop, the God that created the world and the God that Gendo would kill at the end of 3.0+1.0 - would seem to explain why this is the case. She’s Yui Ayanami because she’s a copy - like Rei is - of the original Yui. A Yui created by Yui Ikari. This also may explain why the date on Yui's grave says "02004" - after all, it's the grave of Yui Ikari, not the grave of Yui Ayanami.

Rei of NGE is more than just a clone of Yui, she also holds a piece of Yui’s soul (in the form of emotional memory), while Yui herself resides in Unit-01. Therefore, it stands to reason that Yui Ayanami is not really an individual, but rather someone who holds a piece of Yui Ikari’s soul - I think even more so than Rei (who undeniably is an individual). Yui Ayanami may function as a kind of messenger for Yui Ikari, who holds the knowledge she has and steers the story in the direction it needs to go. There are many players in Rebuild who are more like symbols than characters, and I think this is a huge part of why Yui Ayanami is not a character like Yui Ikari was.

For the sake of brevity, I’m going to use “Yui Ikari” to refer to Original Yui, and “Yui Ayanami” to refer to Rebuild Yui, unless stated otherwise, for the remainder of this post.

A PROPOSAL, PART 2: ...WERE YOU THERE THE WHOLE TIME?

Kaworu himself wasn't brought into Instrumentality in EOE directly. Rather, the fetus of Adam was, through Rei intaking Gendo's hand. If souls like Rei and Sokkuri are capable of rejoining into one in Instrumentality, I wonder if the presence of Kaworu in Instrumentality can be explained by his soul rejoining with that of the Adam fetus. He definitely appears as Adam there, the same way Rei is Lilith. Which brings us to this:

Shinji and Gendo upon seeing familiar souls: "Were you there the whole time?". Full sized image here.

Gendo offers Shinji the apology he never got to hear in EOE, and then realizes: Yui's soul was residing in Shinji. Instrumentality likely reconciled the souls of Yui Ayanami (the individual who became Unit-01 in this timeline) and Yui Ikari (the soul who lived on as God, and in her son), the same way it may have reconciled Kaworu and Adam's.

For as long as Yui's soul resided in Unit-01, and in Shinji, her story was not over. For as long as Shinji was stuck in his loop of making the same mistakes over and over, Eva's story was not over. For as long as the Eva exists, Yui will, and End of Eva leaves Yui there, in space, as the eternal proof mankind existed at all.

If 3.0+1.0 says "goodbye to all of Evangelion", it must be the end of Yui Ikari's story, too.

INTERJECTION: WHAT’S IN A NAME?: “SHIN EVANGELION”

The Japanese title of Evangelion 3.0+1.0: Thrice Upon A Time is シン・エヴァンゲリオン劇場版𝄇, (Romaji: Shin Evangerion Gekijouban𝄇, English: Shin* Evangelion Theatrical Edition𝄇”).

There are three points of interest in this title:

Shin - The use of “Shin” here falls in line with the titles of Hideaki Anno’s other recent films: Shin Godzilla, Shin Ultraman, and the upcoming Shin Kamen Rider. While I’m not really the best person to explain this as I’m not really familiar with the source material, the other Shin films are based pretty heavily on earlier works in their respective franchises (I believe both Shin Godzilla and Shin Ultraman have sequences that are recreations of scenes from the original movie/series). Shin Eva also, obviously, does the same thing with NGE and EOE scenes. *According to an interview with producer Akihiro Yamauchi on Shin Godzilla, the title of “Shin” was chosen for the film due to the variety of meanings it conveys. In all four titles, it is written ambiguously, and could be read as “new”, “true”, or “God”, amongst other things.

Evangelion - NGE’s title and Rebuild’s title are actually spelled differently. エヴァンゲリオン is the spelling of Evangelion used in NGE, ヱヴァンゲリヲン is the spelling used in Rebuild’s title (not the in-universe machines, for the record). They’re pronounced the same way, but Rebuild’s spelling uses characters that are a little archaic (if you want to get technical, it could be romanized as “Wevangeriwon”; note the use of “wo” instead of “o” just like in Kaworu’s name, and you probably get it.) Shin Evangelion uses the NGE spelling, not the Rebuild spelling, which makes it sound like “Shin Neon Genesis Evangelion Movies”, not “Fourth Entry in the Rebuild Franchise” (in fact, “Evangelion Gekijouban” comes from Death and Rebirth/End of Eva’s Japanese names). Earlier posters for this film in English gave it the NGE font rather than a Rebuild style logo, which pretty accurately represents how this looks.

The symbol at the end - The symbol at the end of the title, is a symbol that’s used in sheet music. This could be read two ways - “Shin Evangelion Gekijouban: End”, or “Shin Evangelion Gekijouban Repeat”; If you assume 𝄇 is one symbol, then it’s a “repeat” sign (tells the player to repeat a section of the sheet music). If you assume it’s a colon and then a subtitle, then it’s an “end” sign (𝄂, signifies the end of the piece.)

A PROPOSAL, FINAL PART: TO KILL GOD

Full sized image here. Gendo's goal in NGE and Rebuild is the same: To be reunited with Yui. In Rebuild, he will become God through the use of the Key of Nebuchadnezzar and trigger the Additional Impact with himself at the center, so he can see her again in Instrumentality. But there's a second aspect to this plan... Killing God.

Gendo lays out his intentions. Full sized image here.

I think it would be naïve of me to suggest that Gendo had any intention of ending things when he said this. These lines obviously pertain to something else (I think all of this is covered in the process of beginning the Additional Impact anyway), and it's made clear that he goes into Instrumentality as stubbornly as he always is. He fully intended to destroy all of the spears, so nobody would have any way of manipulating or ending Instrumentality, so he could live peacefully with Yui for the rest of time.

Whatever it might have meant there... "Killing God" takes on a completely different meaning by the end of the film. Yui Ikari is an existence that will live on indefinitely; someone who will never die, even long after humanity is gone. In becoming Unit-01, she alone will wait in the universe forever. She once resided in the anti-universe; the Promised Land, the one and only place fate may be bent to one's will; she created the world of Rebuild of Evangelion, the beginning of everything. Yui did all of this to give her son a better life. To let him try over and over again until he broke the curse of the Eva, and emerged into a brighter future.

She, Unit-01, Evangelion as a whole, could not rest until Shinji grew into his own. Gendo comes to the conclusion during Instrumentality, after bleeding his heart out to his son, that he isn't any closer to reuniting with her.

Full sized image here.

But after acknowledging Shinji's adulthood, accepting his own fragility, and resolving their story...

Full sized image here.

...He realizes she was right in front of him this whole time.

Full sized image here.

With this, Gendo exits the train - the same train his story began, the train station he abandoned Shinji at all of those years ago - his story is over. He no longer seeks eternal life with Yui. As Shinji breaks his own curse of Eva and is reborn out of the comfort of his mother's world, and into a world of his own creation, he says goodbye to all Evangelion.

Full sized image here. Gendo, in peace at the end of his own long journey, is willing to let Yui sleep. And so, he kills God.

Full sized image here.

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